Baren Digest Sunday, 28 September 2003 Volume 24 : Number 2389 ---------------------------------------------------------------------- From: Aqua4tis#aol.com Date: Sat, 27 Sep 2003 11:21:44 EDT Subject: [Baren 22930] Re: emergency embossing help >http://www.binggallery.com/teare.asp these are beautiful!!!! are they hand colored or multiple blocks or hanga? georga ------------------------------ From: GWohlken Date: Sat, 27 Sep 2003 12:29:51 -0400 Subject: [Baren 22931] Mike's print Holy cow, Mike, my amazement is turning into a drop-jaw, breathless catatonia. One question I have -- in the three-block print which looks overall kind of amorphous and soft and even darkish, how did you arrive at the lights which show in the last one. It seems in the first one (at the bottom) so much in the face is already dark, how could the brightness come out later on? It seems it would be impossible. ~Gayle/Ohio >You can check out photos of a number of states at >http://www.mlyon.com/prints/relief/2003_09_jessica.htm >- -- Mike ------------------------------ From: Mike Lyon Date: Sat, 27 Sep 2003 11:51:37 -0500 Subject: [Baren 22932] Re: New Print... Thank you Barbara M, Bobette, Julio, Wanda, Barbara P, Janet, Gayle, Barbara -- "Jessica" was to be an 18 block reduction, however it started looking 'finished' at about 12 and by 15 I had developed the deepest color I could produce, so further printing would be ineffective (as I couldn't reveal additional detail through the already black-black layers). So 15 'blocks' in the print. Julio -- The baren-suji marks were made variously with a) my hon-baren held slightly up on edge b) baren-mall pla-baren ($3) held the normal way but with only light pressure -- makes very narrow baren-suji following the movement of the baren c) Rei Yuki ball bearing baren with only the weight of the baren for pressure and moved minimally in the direction I wanted the baren-suji (that is no pressure at all and no going back over the print). I'll add a couple of more examples to the bottom of http://www.mlyon.com/prints/relief/2003_09_jessica.htm to show some of the baren-suji variations in a day or two. I'll write up my CCP experiences later maybe for Show and Tell, but briefly -- Tony Kirk and staff were GREAT to me and bent over backward to see that I met everyone, had what I needed, was comfortable and entertained. They put me up in "the cottage" which is an annex across the parking lot from the main CCP building. The cottage includes complete kitchen, shower/bath, living room, bedroom, TV and can be separated from the work area by sliding pocket doors. The work area includes two good intaglio presses (one of them a large and gorgeous Takach press) and more than adequate sink and work surfaces. Perfect place for moku-hanga class of maybe a dozen or so students, max (I had eight -- all accomplished artists). Tony Kirk (a member of this forum) drove me into Manhattan twice, once for the opening of his friend, Robert Parker's, opening of 100 watercolor portraits of authors of 1933 (all obscure today), and once to attend the Bob Blackburn memorial service attended by a genuine Who's Who of contemporary printmaking. Gayle -- I probably mis-adjusted the color on the first image of the three impression version, but that's what it looked like to my eye -- each impression goes over the prior ones, so the print keeps getting darker and darker and the darker areas keep getting further refined in the process (and the light areas remain in greater and greater contrast... Thank you all for your kind comments! - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ End of Baren Digest V24 #2389 *****************************